David K. Wilson is a Baroque violinist based in the San Francisco area. He has taught baroque violin at Indiana University and has performed extensively with period instrument chamber ensembles and orchestras in the United States and in Germany. Professor Thomas Binkley was a noted lutenist and director of early music performances. He founded the early Music Institute at the Indiana University School of Music.Dr. Ingeborg Harer is Assistant Professor at the Universitat fur Musik und darstellende Kunst in Graz, Austria.Dr. Ernest Hoetzl is Assistant Professor of Pedagogy at the Universitat fur Musik und darstellende Kunst in Graz, Austria.Dr Yvonne Luisi-Weichsel teaches in the pedagogy department of the Universitat fur Musik und darstellende Kunst in Graz, Austria.

" -

• Preliminary Table of Contents:I. Introduction1. Foreword2. Biographical Sketch of Georg Muffat3. Description of the MaterialsII. Translations4. Florilegium Primum, 16955. Florilegium Secoundum, 16906. Auserlesene Instrumentalmusik, 1701III. Commentary7. Muffat's Intentions8. Instruments9. Tuning: Pitch, Temperament, Intonation10. Technique: Bowing Rules, Ornamentation, General Conventions11. German Performance Practice12. Performance Settings13. ConclusionBibliography

David K. Wilson is a Baroque violinist based in the San Francisco area. He has taught baroque violin at Indiana University and has performed extensively with period instrument chamber ensembles and orchestras in the United States and in Germany. Professor Thomas Binkley was a noted lutenist and director of early music performances. He founded the early Music Institute at the Indiana University School of Music.Dr. Ingeborg Harer is Assistant Professor at the Universitat fur Musik und darstellende Kunst in Graz, Austria.Dr. Ernest Hoetzl is Assistant Professor of Pedagogy at the Universitat fur Musik und darstellende Kunst in Graz, Austria.Dr Yvonne Luisi-Weichsel teaches in the pedagogy department of the Universitat fur Musik und darstellende Kunst in Graz, Austria.

" -

• Preliminary Table of Contents:I. Introduction1. Foreword2. Biographical Sketch of Georg Muffat3. Description of the MaterialsII. Translations4. Florilegium Primum, 16955. Florilegium Secoundum, 16906. Auserlesene Instrumentalmusik, 1701III. Commentary7. Muffat's Intentions8. Instruments9. Tuning: Pitch, Temperament, Intonation10. Technique: Bowing Rules, Ornamentation, General Conventions11. German Performance Practice12. Performance Settings13. ConclusionBibliography